Prior to becoming a platinum selling artist, Billy Joel spent a few years getting his act together, releasing albums that were greeted with the proverbial sound of one hand clapping. "Turnstiles" was his fourth and best collection of songs to date. It met with the same fate as his previous efforts, though this is unfair because of its relative excellence. Despite the fact that it was overshadowed by his breakout LP (The Stranger) in 1977, this is a disc that is more than worthy of investigation. I first heard it through a friend, who taped it for me on one of these.
This quaint little artifact was once branded as the weapon that would single-handedly bring down the music business.
We all know how that one turned out...
Back in 1976, all of the elements were coming into place for Joel. The core lineup of his backing band for the next decade was now present and he wrote a stylistically diverse set of songs for which he oversaw production. Most recognizable from this set are "Say Goodbye to Hollywood", which he had recently done for real in moving back to New York from LA, and "New York State of Mind" that celebrates said return. Personally, my favourites on this record are "Miami 2017" where the storyboard paints a lurid picture of future apocalypse and "Prelude/Angry Young Man", featuring dazzling playing from all involved with a sampling of his bitter wit.
Anyone who tells you that Joel is merely a lightweight singer of ballads is extremely misguided.
You would think that with such a stellar set of material, commercial success would have been a certainty. Such was not the case, though there really isn't any measure of what will grab the attention of the masses. In addition to providing a mini-master class on the 88s, his sure touch with melody is married to extremely sharp, ambitious arrangements here. While the next few outings would make him a star, "Turnstiles" is one of those esoteric pieces that covers ground he wouldn't visit again until he tackled the edgy songs that comprised the ultimate Beatles wet dream on "The Nylon Curtain".
Now, if you do want ballads, here's one of the finest that he ever did.
Motherlode had a top 20 hit with this song in the summer of 1969. Most listeners would immediately peg the group as Philly soul (I'm a sucker for a lot of the stuff that Gamble and Huff did) or perhaps even a Motown act.
Surprise. They were Canadian.
Lodged in my brain from early childhood AM radio brainwashing, "When I Die" is one of my favorites for the harmony parts alone. Written by band members William Smith and Steve Kennedy, it stands as a classic, smooth soul/pop confection. Carol Kaye plays bass on the track. Her session work is extensive ("Pet Sounds" being one of many highlights). Terry Brown (who produced Rush and countless others) was behind the board along with Doug Riley.
Ottawa musicians Michael Hope and Armin Kamal have just released a terrific, five song EP that offers operatic vocals sitting on top of catchy hooks and fretboard gymnastics. Watch for the Devils can purchased right here
Check out their Facebook page to keep up with the band.
When we came back from the war, the banners and flags hung on everyones door
Compelling and occasionally frightening, this short song cycle is a Pink Floyd project in name only. Gilmour and Mason have limited involvement, while Richard Wright had been dismissed from the band. To emphasize the point, the back cover is emblazoned with "The Final Cut: A Requiem for the Post-War Dream - by Roger Waters, performed by Pink Floyd"
Quiet, dark undercurrents lurk at every turn on this musically ambitious soundtrack for a rainy day. Mixing his contempt for the Falklands campaign and the politics of Margaret Thatcher, Waters also brings obsessions with loss and death into the program, carrying on with themes that had run through his writing for quite some time. Imaginative as it is morose, the disc is further boosted by ingenious sound design, interspersed with recordings of various effects courtesy of Nick Mason.
Michael Kamen handles most of the keyboards and arranged the orchestration, with "The Gunner's Dream" and "The Final Cut" sounding epic and lush. The adornments on the latter flirt with the exact arrangements found on "Comfortably Numb". One key element missing here is the vocal contribution of Gilmour, who takes only one lead. His guitar is noticably muted throughout, save for a few exceptions.
"Two Suns in the Sunset" is my personal favourite from this phenomenal set, although that shouldn't stop you from enjoying the rest.
Unfairly ranked as inferior when compared to other Floyd releases, it is nothing of the sort. Waters writing is mature and the concept is far more song oriented than past projects. There are no instrumental excursions into the outer limits to distract the listener from the overall point that is being made. Here is where the principal band members stood against one another, with Gilmour openly expressing his disapproval of the critical nature of the lyrics. Group infighting wasn't new, nor was it restricted to this period. Differences that were once worked out,however,became irreconcilable and Waters would never again enter the studio with the others.
Despite the dark clouds that hovered above it, this is their last great release and criminally underrated, at that.
Many memories associated with this record, having picked it up in the spring of 1983 after hearing "Not Now John" on the radio. My initial evaluation then was one of slight disappointment, though that changed over time. Becoming engrossed in the subject matter, I embraced the songs as they were presented as opposed to how I would have liked them to sound. Curiously, the aforementioned taster single now sticks out as a poor fit when measured against the other tracks. This is a disc that promotes a mood of contemplation, so it is best taken in its entirety. This is a tall order for those who have forgotten the grand design behind making an album, rather than two minute soundbites that can be skipped over or discarded quickly.
For those who have had their sense of humour surgically removed minutes after being born, the concept of music parody is enough to make them squint, tilt their head and remain in a catatonic state for life. Does the thought of a man with long curly hair in a Hawaiian shirt playing the accordion in front of an adoring crowd make sense to you? How about if he gets naked, climbs into a tub of Jell-o and sings folk songs about Alpaca combing in Peru?
Weird Al Yankovic did one of those things as he owned the Claridge stage for a spellbinding hour and a half on the closing day of Ottawa Bluesfest.
Hey Ottawa! Do you want to hear some BLUES???
With that, the man of the hour and change opened with a medley of popular songs all pounded into the straightjacket of 4/4 time polka stomp. Backed by a very talented quartet, whose harmonies and instrumental chops were a huge part of the experience, Yankovic absolutely destroyed all of the pop culture icons (past and present) with razor sharp wit and costume changes. With trips offstage between songs to raid the wardrobe being an integral part of the act, short, comedic video segments were deployed to keep everyone occupied. Considering the humid conditions, Al was a trooper as he transitioned from furs and ice cream cone headgear for the Lady Gaga send up ("Perform This Way") to full yellow-suited, red-helmeted Devo ("Dare to Be Stupid"). Whatever the incarnation, his band followed suit. Everything worked like a Swiss watch and he held the crowd for the entire 90 minutes of mania.
The highlight? When everyone huddled in chairs at centre stage while performing "Eat It" and a handful of other classics ("Like a Surgeon" included) in the exact style of Eric Clapton's unplugged version of "Layla". Expertly rendered, funny as hell...this was one of the high watermarks of the festival in terms of delivering a full package of entertainment on every level. The energy that he expended was unbelievable. Finishing with "Yoda", they did an extended, inspired, harmonized bit of nonsense (A cappella) mid song before returning to the chorus and leaving thousands of happy people singing along.
Setlist:
Now That's What I Call Polka!-(medley)-Wrecking Ball/Pumped Up Kicks/Best Song Ever/Gangnam Style/Call Me Maybe/Scream & Shout/
Somebody That I Used to Know/Timber/Thrift Shop/Get Lucky
Perform This Way
Dare to Be Stupid
Fat
Foil
Smells Like Nirvana
Party in the CIA / It's All About the Pentiums / Handy / Bedrock Anthem / Another One Rides the Bus / Ode to a Superhero / Gump / Inactive / eBay / Canadian Idiot
Eat It / I Lost on Jeopardy / I Love Rocky Road / Like a Surgeon
White & Nerdy
Word Crimes
Amish Paradise
Encore:
Yoda
Now in the midst of their "Fully and Completely Tour", the Hip hit the Bell Stage powerfully with their engine room, rhythm section Johnny Fay and Gord Sinclair, kicking off "Grace, Too". This would serve to be the first shot across the bow, signalling an exceptional night of live music for those that braved the weather. Slightly altering the opening line, the other Gord (Downie) leaned into his mic and bellowed:
He said I'm tragically HIP!!!!/
Come on just let's go...
With his first utterance, there crowd erupted, remaining statically charged as the silver penned devil did his level best to bring exaggerated pantomime into the proceedings, mugging wildly, striking poses and delivering his literate musings with a wink. Sheets of precipitation thoroughly soaked everyone, yet spirits remained high. Despite looking like a thrift-shop version of John Steed, I was glad to have dragged along my brolly.
Rain fell in real time/rain fell through the night
Laying out the appetizers, while getting sounds balanced onstage, the other highlights in the first mini-set were "Ahead by a Century" and the well timed "New Orleans is Sinking", both of which became mass sing-alongs. Downie was particularly animated in the vocal department, elongating certain phrases with strangled screams that went off script from the arrangements occasionally. There was a method to his madness, as all eyes were riveted on the frontman, leaving the band to create the soundscape. Duly warmed up, there was a very quick break while the musicians transitioned to the main course for the evening, playing their third album (Fully Completely) in its entirety.
Looking for a place to happen...
When the "Gord is Lord" tag first cropped up amongst fans of the Hip as a descriptor for the lead singer, 99.9 percent of that was attributed to his very special way with words. The lyrical content of Fully Completely is rich in imagination, historical reference and abstract thought at its finest. Wrongly convicted men mingle with mythical serial killers who roam free. Woven into this tapestry are tales that incorporate fact, fiction and shadowy areas in between.
Their performance was incandescent, instantly conjuring memories of that period for me (late 1992)...friends, parties, adventures all came crashing through the time barrier, forming perfect holograms. Every selection on this perfect disc was delivered with passion and swept the crowd into a rapturous mood. Delicate guitar figures ("Pigeon Camera") mixed with terrific, straight ahead rock ("Looking for a Place to Happen") and the intensity continued to build with every song. Bobby Baker took a few inspired, extended solos while smiling at Downie's antics. Celebrating the over 60 year old Bill Barilko OT goal as if it was happening at that moment brought him back to life momentarily in the midst of a waterlogged concert site. "Wheat Kings" was enhanced by a mass chorus of voices that lifted this plaintiff, acoustic ballad to anthemic heights. Not a beat missed, nor a note wasted, "Eldorado" wound up on an incredible sonic high.
Thanking the rain and the die-hards who stayed throughout the deluge, Gord reminded everyone that they weren't finished yet. The encore was almost anticlimactic, considering the sheer emotional impact of getting our collective heads ripped open by such a stellar show. I have seen these guys multiple times, though this was by far the best experience.
Setlist:
Grace, Too
At Transformation
In View
Ahead by a Century
New Orleans Is Sinking
Courage (for Hugh MacLennan)
Looking for a Place to Happen
At the Hundredth Meridian
Pigeon Camera
Lionized
Locked in the Trunk of a Car
We'll Go Too
Fully Completely
Fifty-Mission Cap
Wheat Kings
The Wherewithal
Eldorado
Encore:
Poets
My Music at Work
Long Time Running
Blow at High Dough
Played onto the Claridge stage by a super tight band, the flamboyant, golden-voiced Green appeared in red-trimmed leopard-print mumu, which screamed both comfort and sartorial splendour all at once. Stopping on a dime, his backing crew launched into the icy, synthetic crunch of, "Are We Not Men, We are Devo" as he asked the crowd to shout "We want CeeLo!!!" in the sweet spot.
And they did
Audience duly pumped, the brilliance continued with a 180 degree hard left turn into "I Wanna Be Your Dog". The Stooges? What a way to grab the audience by their collective lapels, lift them up and pin them to the wall. Hot Chocolate's late 70s smash, "Everyone's a Winner" was teed up and cranked out of the Le Breton park next. Welcome to McCeeLo! He knew enough to steer back toward his own "Bright Lights, Bigger City", which really came off far more powerfully live than it does on record.
Though he did perform the obligatory Gnarls Barkley hit that first brought his smooth tenor to the attention of the fickle public gallery in 2006 ("Crazy"), it is the kaleidoscope of covers that were spun out effortlessly which really caught the ear.
"Let's Dance", "Jungle Boogie", "Need You Tonight" all happened, with a funky, wet dream detour into Stevie Wonder's "Sir Duke" that seamlessly tiptoed into Ellington's own "Caravan". Medleys, fragments abound, "I Feel Good","Hey Joe" (Hendrix version) bounced wildly off of "Rock the Casbah" and "Sweet Dreams (Are Made of This)". Minds blown by this dazzling array of "other artistry", all that was necessary was the signature riff of "Smells Like Teen Spirit" and his own "Fuck You" to sweep up the broken pieces.
By this time, I had already made the pilgrimage across the field to catch the Arkells. CeeLo is a giant among live performers, owing in no small part to a peerless set of pipes.
Straight ahead rock solid set from the pride of Hamilton (after Marty Short, of course). Fresh from playing at the Calgary Stampede, the quintet took the red eye into the nation's capital and showed no signs of sleep deprivation, lighting up the Canadian stage as the sun faded into the west.
Frontman Max Kerman worked hard to engage the crowd from the moment that they tore into the opener, "Come to Light". Over the course of three albums the band has delivered thoughtful, energetic and catchy rock songs that have been honed to perfection on stage. These guys are on tour in perpetuity and it shows as they ramped up the intensity over their 1.5 hour showcase. All of their singles (except "Ticats are Hummin'") were featured, with "John Lennon" and "Pullin' Punches" ending up as particular highlights. The unsung hero of this aggregate is drummer Tim Oxford, who could have stood in for an atomic clock as he expertly steered the group through razor sharp arrangements. His precision assaults on the kit kept people a least a foot off the ground throughout.
What complimented their hooks, harmonies and great ensemble playing?
Pristine sound out front.
"11:11" provided the soundtrack to a marriage proposal earlier in the day, with the happy couple invited to watch the gig from the side of the stage.
Kerman asked the audience not to clap but snap along at one point. They complied and it was surreal.
Jerry Lee Lewis moment for keyboardist Anthony Crane as he pounded the 88s like a man possessed during a solo.
Moving over to the Bell Centre stage just as they kicked into a two song encore, it was a pleasure to witness such an exciting, five star performance from a band whose star is definitely on the rise. If you have a chance, get out and catch them.
Setlist:
Come to Light
Michigan Left
Ballad of Hugo Chavez
Never Thought That This Would Happen
11:11
Dirty Blonde
Oh, the Boss Is Coming!
Kiss Cam
Systematic
Pullin' Punches
Book Club
Where U Goin
On Paper
John Lennon
Whistleblower
Encore:
Cynical Bastards
Leather Jacket
This was a perfect night for an outdoor event, warm and clear with just a few clouds emanating from herbal jazz cigarettes. Main objective: stake out a spot further back from the front of the stage with a view, while avoiding getting crushed or hit with water bottles. Tension started to creep through the assembled crowd as the "Yeezus of Cool" delayed his appointed 9:30pm appearance by twenty minutes. One guy in front of me yelled "We love you, Kanyeeeeee!!" repeatedly until he was hoarse, as his girlfriend cringed with every ear-shattering scream. He settled down after she hit him.
With that mercifully timed act of necessary violence, a bank of floodlights lowered toward the stage and the man himself emerged with the intro of "Stronger" throbbing from the mains.
A FEW OBSERVATIONS
When the bass kicked in, it packed the power of a one-inch punch to the sternum delivered by Bruce Lee in his prime.
There was no band, back up dancers nor were there any costume changes in evidence.
Songs in the set were frequently cut short by West himself and he would simply move on to the next one.
"Bohemian Rhapsody" was not attempted.
Thousands of attendees will be deleting heavily distorted, low resolution clips from their phones today.
THE VERDICT
Overpowering his flow in the first few songs was a very low-end dominated mix out front, which swamped "Power" and "Black Skinhead". He actually stopped mid-song, the lights came down and there was an uneasy break in the action as this was sorted out. The master of ceremonies then returned to the mic and proceeded to obliterate the gathered throng (roughly 25,000, reportedly) with a barrage of wordplay, sonic chaos and unrelenting energy.
Coming in, I did not have a complete digestion of his discography and what material I had heard didn't really blow me away as a listener. Through the course of the show, it became very clear why he has amassed such a fervent fan base.
From a psychological viewpoint, I have never witnessed anyone control a huge crowd so masterfully before. People were vibrating and knew every word of every song, with Kanye happy to let them do the heavy lifting and sing/shout his lyrics. Usually, the artist will have to do some work to get things going in a live setting. No exhortations were needed from stage to elicit audience participation and it was absolutely mesmerizing. The concept of the big outdoor rock spectacle has been well documented, yet this gig had little variation in lighting effects, no group of musicians to observe or take solos and very little banter.
Just one guy with a mic
There was an odd element to the proceedings in that it felt as if you were part of a human iTunes performance experiment, especially when he would turn to his tech and say, "Skip this and play the next one" and the track was cued up on a dime, cutting the previous song dead instantly. No one reacted negatively. West addressed his fans sparingly, though when moved to speak he was nothing if not predictably ostentatious:
“I want you to tell your kids about this one day, I want you to remember this. There’s a lot of great people who make music that I enjoy and all, but there’s only one fucking Kanye West!!"
He also managed to get in a few choice words directed at,"celebrity sell-outs who don't rap from their heart and soul and compromise their art for corporations, the money, and public opinion.”
Who does this guy think he is? Neil Young?
Sweeping aside the braggadocio, he did smile a few times, softening momentarily to thank the faithful:
“I really appreciate y’all, I love performing these songs, travelling the world, fulfilling these dreams!”
People genuinely love this guy. As for the often mentioned haters? They didn't appear.
OVERALL IMPRESSIONS
I was pleasantly surprised by the quality of the show. While he is not a singer, his skills as a rapper/performer are estimable. The presentation was incredibly well paced, never dragged and held moments of true spontaneity, despite the absence of a live band. Ending on a quiet note with "Only One", by the time he wound it down, there was still a definite buzz in the atmosphere, though no encores ensued. He simply disappeared without any further word as the lights came up. As a result of attending this stellar happening, I now "get it" and have far more respect for what he does when caught in the act.
Set list:
Stronger
Power
Black Skinhead
All Day
Cold as Ice
(Foreigner song)
Clique
(Kanye West, Jay-Z & Big Sean cover)
I Don't Like
(Chief Keef cover)
Mercy
Blessings
(Big Sean cover)
New Slaves
Blood on the Leaves
Heartless
Runaway
Flashing Lights
FourFiveSeconds
(Rihanna cover)
No Church In The Wild
(Jay-Z & Kanye West cover)
Through the Wire
Jesus Walks
All Falls Down
Can't Tell Me Nothing
Gold Digger
Touch the Sky
Niggas in Paris
(Jay-Z & Kanye West cover)
Only One
A truly gifted musician, singer and composer passed away this week. He was dedicated to his craft and was in the vanguard of a completely new genre of music called progressive rock. Co-founder of Yes, Christopher Squire was an innovative bassist who was virtually without peer, though the exploration of the upper fretboard of his Rickenbacker overshadowed his abilities as a harmony singer. He effortlessly tracked Jon Anderson line for line on some of the most complex, melodic compositions ever committed to tape. Even now, the ground that he and his bandmates covered seems futuristic.
It is impossible to measure the influence that he had on other musicians. No less a light than Geddy Lee has often stated that without Squire, his own playing would not have flowered in the way it did. Trail blazing and brilliant, "Fish" will be sorely missed by family, friends and a legion of music fans.
For those that want to celebrate his talent, listen to his solo debut "Fish Out of Water" from 1975. It showcases his vocal, instrumental and compositional prowess. Turn it up loud...
Meticulously crafted and sporting an inside-joke cover photo, this under appreciated disc represented the last vestiges of the original Byrds sound. Fighting, firing, and quitting marred the sessions, though no hint of that toxicity crept into the final product. The group was reduced to just two original members upon its release in early 1968. David Crosby, fired from the band during the recording process, turned into a horse. Years later, he still called BS on the story that this wasn't planned. Judge for yourself, take a moment and read all about it
I'll wait right here.
Sgt Pepper cast a long shadow over the music industry in 1967. In its wake, record companies began to throw money at bands to create their own "psychedelic masterpieces". As it goes with most trends, much of the resulting product was unlistenable and dated quickly.
The Byrds neatly avoided such traps.
Gary Usher did take production cues from the Pepper playbook, but to positive ends. Legendary producer/engineer Roy Halee recalls the sessions:
I worked with a guy out in L.A. who loved to imitate everything The Beatles were doing — Gary Usher. He loved to copy them. 'Here, listen to this record, Roy,' and it would be some phasing thing; no big deal.
Usher helped to weave together very diverse styles of music, staying away from tedious explorations of the outer limits (with the exception of the closing track) At barely 29 minutes, it's tightly edited without bands of silence between cuts (another nod to Pepper).
Pyramids on the moon, tribal hippie gatherings, 1920's cowboy film directors, and smiling dolphins all make appearances on this patchwork quilt. "Artificial Energy" explores the wonders of speed, with compressed horns that resemble the brass parts from "The Prisoner" theme. Gated snare sounds appear as if flown directly from Abbey Road studios.
Sitting comfortably next to McGuinn's chiming 12 string and those trademark harmonies is the Moog synthesizer. A new toy at this point, it was deployed with great taste. What sounded futuristic then is a bit amusing now. Used sparingly, it did provide an esoteric feel, without overpowering everything else (as in "Natural Harmony").
A single, insistent cymbal introduces "Draft Morning", which is a model of lyrical economy:
"Sun warm on my face, I hear you
Down below movin' slow and it's morning.
Take my time this morning, no hurry
To learn to kill and take the will
From unknown faces
Today was the day for action
Leave my bed to kill instead
Why should it happen?"
Shifting from languid to intense, it is a startling aural commentary on the Vietnam war. The listener is left to draw their own conclusions.
Wild stylistic shifts are the rule here, some occurring within the boundries of a single song. The full stop to feature heavily phased strings in the otherwise country-fried "Old John Robertson" is an extreme example . Jazzy themes ("Gathering of Tribes"), woozy country waltz time ("Get To You") chamber pop ("Goin' Back" ) and synth drenched chant ("Space Odyssey") shouldn't work well together, but here they do. "Gathering of Tribes" flirts a bit too closely with Dave Brubeck, though the vocal harmonies are a highlight, as they are throughout the LP.
Gene Clark even returned to the band. It was only for three weeks, but he managed to make a TV appearance with the others before he was gone again. Their cover of "Goin' Back" should have been a massive hit, though it managed to escape the attention of record buyers and radio programmers. They should have listened more charitably as it is arranged and performed beautifully.
A matter of personal taste, though "Triad" should have taken the place of "Dolphin's Smile".
Future Byrd Clarence White shows up to add stellar breaks on his modified Telecaster, pointing to the style of their next album, which would be a full plunge into country with Sweetheart of the Rodeo. Easily one of the best of their offerings in the sixties.
Progressive rock hit a definite stride in the early 70s with a number of groups exploring the outer limits in grandiose fashion. Traditional three minute pop songs disappeared into album length presentations. Themes were varied, solos interminable and audiences were invited to lose themselves in fanciful flights of imagination, which could be mind blowing depending on the quality of your stereo equipment.
Having a decent stash didn't hurt, either.
Genesis honed their brand of art rock to a fine point on "Selling England by the Pound". Epic battles, knights, lawn mowers and quintessential English eccentricity fuel the disc. Instrumental passages push running times past the ten minute mark twice ("The Cinema Show", "The Battle of Epping Forest") with unfathomable lyrics adding further density.
Your patience is required.
Fortunately, it is rewarded with Tony Banks quasi classical keyboards that enliven "Firth of Fifth", complete with an excellent guitar solo from Hackett. The relatively brief (but great) "I Know What I Like (In Your Wardrobe)" came as close to "a hit single" as this incarnation would manage. Mike Rutherford's sitar lines are tasteful, employed much in the same manner as Steve Howe's work with the instrument.
Incorporating theatrical presentation, costumes and genuine stage presence, Peter Gabriel gave the band an incredible visual dynamic. His vocal style infused their work with soul. The others were hidden behind keyboards or drums (in Steve Hackett's case, seated for the duration of live performances) rooted in place, faithfully replicating the complex arrangements of their recordings.
Banks and Rutherford were driving forces with respect to composing at this time, though everyone contributed ideas in what could best be described as a song writing collective.
There are some interesting glimpses into the future found in Hackett's use of fretboard tapping on "Dancing With the Moonlight Knight", prefiguring Eddie Van Halen's revolutionary expansion of the technique by five years. Phil Collins also steps into the role of lead vocalist on "More Fool Me". His playing is inventive and solid throughout.
Seriously fine contributions from all members puts this in contention as one of their best efforts.
Before delving into the content of this truly fantastic disc, please take a moment to ponder the subversive sense of humor at work behind the cover photo.
Is the shoot today? Man, I had a heavy night. Just take the picture and I'll start the coffee...
The guy in the bathrobe certainly didn't phone it in when it came to delivering his seventh record. Harry Nilsson was a gifted singer/songwriter who came to prominence in the late sixties. Astonishing vocal chops perfectly complimented his natural touch with a tune, winning praise from both critics and peers. Nilsson also had a knack for taking other peoples songs and deftly rearranging them as if they were his own. (If you can find it, the 1970 LP Nilsson Sings Newman is worth every penny that you'll spend to drag it home.)
Supporting players here are all top class session pros (Jim Gordon, Gary Wright, Jim Keltner, Herbie Flowers, Chris Spedding, Bobby Keys...the list goes on) with all of the layers blended perfectly under the direction of producer Richard Perry. The cast of brilliant musicians never overwhelm the artist, always playing in service of the songs.
Revealing a quick wit, the lyrics are whimsical ("Gotta Get Up"), clever ("Driving Along") and esoteric ("The Moonbeam Song"). Embracing novelty, he also pulls off "Coconut", sung, straight-faced, by separate "characters" that are carefully voiced and overdubbed by Nilsson, who was also a deadly accurate mimic. Caribbean breezes blow gently through the track, adding a touch of the islands.
Curiously, he was not moved to take his act on the road. While avoiding proper touring schedules to promote his work, he did acquiesce to participating in filmed TV performances. The sheer melodic strength of "Gotta Get Up" is evidenced by his ability to sell the tune as a solo piano vehicle in this clip.
Conversational marker: "Without You" is a shining example of Nilsson's aforementioned talent for not simply covering material but breathing new life into it. Written by Pete Ham and Tom Evans of Badfinger, the song had built in pathos to begin with. Reportedly, he was not particularly enthused with taking up this composition. Despite initial misgivings, Harry delivered a stunning vocal, aided and abetted by very tasteful orchestration arranged by Paul Buckmaster. Wrenching untapped levels of emotion from this ballad, his reading is entirely convincing and never strays into schlocky territory. The original version is staid by comparison. You believe that this man is on the precipice when he effortlessly hits those high notes.
Small wonder that it was such a monumental hit when released as a single, earning him his second Grammy award.
Therein lies his genius, as this was but one facet of his musical personality. "Early In the Morning" is yet another side of the coin, with as soulful a vocal as a white male could achieve. Minimalist masterpiece best describes this rendition as Harry ends up owning another cover, accompanying himself on keyboards. The stark arrangement is completely carried by his voice. Easily the best place to start on your journey through his body of work, Nilsson Schmilsson showcases his strengths, nicely beveled under Perry's direction into a final product with nary a wasted note.
As a Beatle obsessed kid, I discovered his music through reading about the unanimous endorsement bestowed by the group upon his second release (Pandemonium Shadow Show). The infamous, hard-partying exploits with John Lennon in the mid-70s and their collaboration on Pussycats was another point of reference. His brilliance has been criminally overlooked, with lack of promotion undermining later efforts, such as Knnillsson. Since his untimely passing in 1994, his profile has remained low in terms of how his catalog has been marketed.
POSTSCRIPT
It's never too late to find out why people were wild about Harry. Here's the trailer for a 2006 documentary called "Who is Harry Nilsson? (And Why Is Everybody Talkin' About Him)". It was released on DVD in the fall of 2010 and comes highly recommended.
Today marks the 33rd anniversary of the release of Diver Down. Van Halen's fifth LP in a four year span was greeted with mixed reviews back in '82. Granted, no one was looking for a grand statement from the quartet nor was their fan base scouring the contents for hidden messages.
Hey, wait a minute! Play it backwards, man...
Though admittedly not a lyricist of consequence, David Lee Roth did liken the cover art to clever subterfuge on the part of his band. To wit, what is going on beneath the surface isn't readily apparent to the observer. Let's take this thought down a fathom or two further, gentle reader. Van Halen offered up entertainment on a grand scale. Roth played the hyper, over-caffenated ring master with a wink, always delivering on the promise of a party. This leering veneer masked a far more substantial thought process. The Van Halen brothers themselves were (and are) prodigiously gifted musicians who played up their swaggering, beer guzzling onstage personas. Michael Anthony rounded this out with his flawless harmonies, precision playing, though fans focused on his propensity for chugging Jack Daniels rather than his low-end fretwork. Eddie Van Halen had the touch of Paganini, wanted to widen the scope of what the group could do and wade into more serious compositional waters. Playing to type was expected, fun beckoned and Diver Down was recorded quickly with covers taking as much space on the record as original material.
Flash and substance meet in a duel and agree to disagree.
Once again they dig into the Kinks catalog for the opener ("Where Have All the Good Times Gone"), knock a Roy Orbison classic out of the park by virtue of their inspired, muscular playing ("(Oh) Pretty Woman") and "Big Bad Bill" best illustrates what I was alluding to in my scattershot opening thought (scroll back up a bit). The lads display a wealth of taste and chops, with zero pyrotechnics and a side of clarinet courtesy of Jan Van Halen.
With me so far?
"Hang 'Em High" and "Secrets" are my personal favourites, featuring all of the heavy and melodic elements that made these guys so compelling. Classic rock radio programmers have, mercifully, managed to avoid bashing these selections into the ground, which is another plus. If you aren't convinced of the genius that Eddie possesses, take "Cathedral" and the intro to "Little Guitars" into your brain. These brief, complex interludes have the effect of a quick, cool breeze on a sweltering day. Just a taste that leaves you wanting a bit more. Gathering around the campfire mic to dash off "Happy Trails" in four part harmony, they break down in fits of laughter and provide the perfect ending to an eclectic selection of tunes. The only track that could have been ditched is "Dancing in the Street" which is uncharacteristically turgid. Despite all efforts to inject some excitement, only Alex really shows up on this one.
Diver Down is an inspired charmer, very easy to digest and smartly brings back some silliness into the mix after the serious tones of Fair Warning. Overall, the set has aged well and really deserves much better than the poor notices that it has attracted. If they had spent more time on the project, there is a good chance that the spontaneity would have been sacrificed in favour of overthinking. Well deserving of another spin at 33 (and a third).
Changes fill my time, baby, that's alright with me
In the midst I think of you, and how it used to be
Anniversaries offer an opportunity for both celebration and reflection, with misty-eyed platitudes often overriding objectivity. Unpleasant memories safely tucked away, the gory details surrounding said occasion (whatever it may be) are often swept aside in a wave of toasts, tributes and trivia. February 24th, 2015 marked forty years since Physical Graffiti was made available to the Led Zeppelin faithful. Jimmy Page had been campaigning for the release of a double album since the sessions for their fourth disc. All was not well within the group dynamic, though the outside world remained oblivious to the fact that any feelings of rancour existed in the Led Zep camp at that time. Manager Peter Grant and the band had a fairly hostile attitude toward the press which guaranteed that virtually no inside information of any substance made its way into print or electronic media.
Let's take a quick look at events leading up to the completion of LZ's sixth record.
Plant-Throat surgery following their '73 tour which left him unable to speak for nearly a month. In recovery, he would lose some of his former ability to bounce notes into the stratosphere. He had also started to formulate a plan for solo work.
Page- Devoting time to personal business ventures, creation of a movie soundtrack (Lucifer Rising) and the launch of their new SwanSong label, while also drifting into abuse of harder substances.
Jones- Tiring of the pressures of an intensive tour schedule and mayhem behind the scenes, he tendered his resignation (though he fortunately had a change of heart) and started working with other artists, playing and producing.
Bonham-Still continued to hone his craft as a drummer, while also increasing his daily intake of alcohol and drugs, which lead to increasingly erratic/violent behaviour.
NEW MATERIAL
Initially, the quartet took a first pass at some tracking in late 1973, though the sessions quickly fell apart and were postponed until the new year. Eight tunes emerged from the work that was undertaken in opening months of 1974. These selections are uniformly excellent and would have made an incredibly tight set if they had been presented on their own. With no tour cycle planned for this calendar year, Zeppelin floated gently back to earth to enter a fallow period, during which time some further overdubbing was done on the most recent recordings. The fighting unit that had made their way around the world filling stadia, wrecking hotel rooms, fucking, drinking, smoking, snorting and playing some of the longest, most mind-blowing shows of that era would now down tools for the short term.
TREASURE TROVE
Uncertain that Jones would return to the fold, Page began sifting through the music that had been stashed aside since Led Zeppelin III. Seven additional pieces rescued from the cutting room floor would now be in the running order of the next grand statement, finally bringing his wish for a double set to fruition. Careful consideration was given to the mixes to ensure that all of the music had a uniform feel, which meant that the mastering process also took longer. It was important to balance the volume of material that had been captured over the course of the past few years with the new recordings. Originally intended for unveiling in fall of '74 to reap the benefit of pre-Christmas sales, the release was pushed out due to further tinkering with the master tapes and delays with cover design.
You may learn more about the construction/inspiration of that iconic sleeve here
With an upcoming tour schedule looming and no new product in stores, the four musicians had to regroup (Jones now back in) for some hasty rehearsals and learn how to be Led Zeppelin again. Reports from the initial dates were not great. Plant was ill and losing his voice, while the others struggled to shake off the rust that had accumulated in the year and a half spent off stage. By the time that their new offering was available for purchase, they were two months into the '75 tour and beginning to fire on all cylinders once again.
APOTHEOSIS
All of their finest elements as composers and multi-faceted musicians coalesce on Physical Graffiti. Free from the confines of a single disc format, there are several long form tracks that virtually swallow needle time over four sides of vinyl, the centrepiece being "Kashmir". Speaking of the black circle, the first half of this staggering listen is comprised of six uncompromising slabs of melodic hard rock and blues, all filtered through the tasteful lens of world class chops playing. "Custard Pie" leads the charge with a simple, effective riff and Bonham's deep pocket groove. The lyrics are an amalgam of several Delta Blues paeans to the joys of oral sex, deliberately slurred by Plant and topped with red hot harmonica blasts. Cribbing from Sleepy John Estes, Bukka White and Blind Boy Fuller, this would be another overt dip into the well of lyrics created decades earlier in the fabled American south by these innovators. While points get subtracted for neglecting to give credit where it should have been due, the instrumental sparks fly as Page leans hard into a wah-wahed solo. Heralded by Bonham's bass foot and high hat accents, "The Rover" offers a sample platter of guitar motifs from Page and an exhortation to get together and see ourselves as citizens of the planet. Plant bemoans the way we treat mother Earth and intimates that things would improve "if we could just join hands". Hippy idealism aside, the remaining time from here until the runout grooves is taken up by a devastating new take on an old theme. Essentially a slide guitar fuelled monster, propelled by Bonham's explosive fills, "In My Time of Dying" is a gripping 11 minute feast for musos. Though his parts are not as flashy in the mix, John Paul Jones burns on the fretless bass, while Robert adapts "Jesus goin' a-make up my dyin' bed" from the mists of traditional gospel as it was imagined by performers who dutifully interpreted Psalms 41:3 "The Lord will strengthen him upon the bed of languishing, thou wilt make all his bed in his sickness".
No words do justice to masterful delivery.
From the dark comes Satan's daughter...
"Houses of the Holy" leads off the second side in style. Wonderfully tight and punchy with typically slick runs from Page, it curiously did not make it on to the previous album which bore its title. Similarly, "The Rover" met the same fate. It is here that the erudite listener will find the delta (not in the Mississippi sense) between Plant's singing voice pre and post surgery. While he still possessed great pipes, the top part of his range never really fully returned. Anything done before 1973 features him reaching noticably higher notes, while vocal takes from 1974 onward contain more gravel in the delivery and are scaled back by comparison.
Never cared for "Trampled Underfoot", which wears out its welcome quickly and is fairly disposable.
Strong melodic themes are very much in evidence throughout, though the highlight of this monster outing is "Kashmir". Built in rehearsal with Bonham, Page apparently had much of this rotating motif worked out in his home studio before uncorking it and letting it breathe with the group. Hypnotic in execution, it succeeds by virtue of the sheer tension that is built by the stalwart, bricklayer hands of Bonham, which keep the ship steady and reverberates in your sternum. Jones adds beautifully decorative touches (and likely contributed to the orchestral arrangement) while the lyrics far outstrip anything that had been attempted up to this point, showing great maturity in terms of subject matter. It is a high watermark in a stellar catalog, rich in imagination and should have been placed last here, as it destroys all that comes after.
Oh, pilot of the storm who leaves no trace, like thoughts inside a dream
INTERMISSION
Jolted as the arm skids out of the fade into the run-out grooves, it's time to get up, empty that ashtray, grab another beverage, divvy up that weed you have left on the back of the die-cut cover and roll it up. Take a moment to recover from the first blast before you slide the second record out of its jacket and apply the stylus...a steadily rising drone begins to fill all space in the room. In the light you will find the road
THE BACK NINE
Side three opens under an opaque fog of Morrocan hash smoke, with ethereal sounds conjured from Jones' synth, Page scraping a violin bow across acoustic guitar strings and massed vocals that float above it all. The spell is broken by the intrusion of crashing drum accents, followed by a flourish of distorted guitar notes. "In the Light" is a very intricately constructed piece, which ebbs and flows, tied together by the clavinet that provides the outro which leads out of an atmospheric verse into yet another meticulously crafted guitar passage. The wealth of great ideas on display within the boundaries of this stunning creation is enviable. Interestingly, it also has the effect of drawing back curtains to allow the morning light to fill a room. As that warmth spreads, the gentle interpolation of "Bron-Yr-Aur" becomes your soundtrack. Fetching and brief, this soothing acoustic instrumental on the "light side" of Physical Graffiti gives way to the Neil Young inspired "Down By The Seaside". Heavy tremolo effects are applied to the guitar and the lads even pinch the gargling harmony vocal trick from "Octopus's Garden". Surprisingly, they manage to pull it off, digressing momentarily in a wild 180 degree shift to a bridge that is far removed from the main theme. Closing the introspective side is the exquisite "Ten Years Gone". One of my personal favourites of the entire Zep songbook, Page scores bonus points for his choice of chords in the silky intro which toggles back and forth from A major to F6/Dm, and then runs from A major to E flat diminished 7th, E minor, D major 7th and finally lands on C major 7th before transitioning to another signature pice of riffage that comes back to rest in A. Setting a wistful, somewhat sombre mood, there are a myriad of overdubs that comprise the guitar army that Jimmy was known to assemble on many occasions. None more memorable than this with fine support by way of a superb lyric and vocal from Plant.
According to author Stephen Davis, Bonham held a few late night drum practices in his suite at the Hyatt House, playing along to the records of jazz drummer Alphonse Mouzon (Mind Transplant being his latest LP at that time) who was a heavy hitter in his own right. Davis was jolted from a dead sleep as his room was directly below the nocturnal percussionist. John Henry Bonham is nothing less than a force of nature throughout, leaving nary a blemish on the foundation work that he lays down. His playing is infused with jazzy touches and that single magic bass foot of his did the work of ten. Fitting that his high-hat starts off "Night Flight" which he populates with triplet fills, raising the game of an otherwise straightforward tune. He continues his grooving, four on the floor streak with "The Wanton Song" as Jones and Page lock into a fierce octave seesaw riff with stop time crashes, which the Red Hot Chilli Peppers would build a future career on. The Leslie treated guitar tone that appears in the instrumental bridge is another mini-masterclass in chord choices for players rolling from F minor to B diminished 7th to C minor 7th into a C sharp diminished 7th. This is followed up by another series of jaw-dropping phrases that end in a full stop with backward echo. This is top shelf musicianship from all involved, the product of very disciplined, schooled song craft.
John Paul Jones always seemed to be overshadowed by the extrovert musical personalities of the other three, though he expertly handles bass guitar, organ, acoustic and electric piano, mellotron, guitar, mandolin, VCS3 synthesiser, Hohner clavinet, Hammond organ and all string arrangements here. Versatility is a woeful understatement in terms of what he brought to the table. That's his mandolin boogieing along with Ian Stewart in the Ritchie Valens tribute (Ooh My Head) and the inside joke that became "Black Country Woman". It isn't fully substantiated, but Zeppelin roadies knew that a certain blonde lead singer had been having a fling on the side with his wife's sister...which may have led to that beer in his face. The line about "I know your sister, too" crops up in a many blues templates as well, so it may have just been coincidence.
Hey, hey mama, what's the matter here????
"Sick Again" provides the closer, bringing everything together in one swaggering blast with a fulsome tribute to the groupies, LA queens and all in attendance at the non-stop backstage touring party so redolent of that timeframe. Muscular in structure with an excellent turnaround, it featured prominently in their set list through to their last gigs and is a stellar tune.
Kashmir still should have been sequenced as the last track
Though Zep III gives this one a run for its money for the top tier in their discography, I rate Physical Graffiti a notch above. When rock afficianados toss out the big ticket names who have painted their masterpieces in broad strokes over two discs, this ambitious set should be involved in the conversation. Very little filler is present, the material is eclectic, interesting and the playing/singing impeccable. No "Revolution 9" or "Sad Eyed Lady of the Lowlands" here to detract from the overall pace of the program, either. Simply put, it is work that anyone should and would be proud to be associated with. Which is why we are still talking about it and lending an ear to this timeless record today.
As for the 2015 remaster, it is nice to have, though only completists will listen to the bonus cuts more than once. What really should have been offered as a companion piece are highlight reel, soundboard quality live performances from different stops on their 1975 North American tour.
Jimmy Page gets the final word on this one.
It gave us the chance to put in the material that was left over from the first visit to Headley. There were three tracks that were left off of the fourth album, and that was "Boogie With Stu," "Night Flight" and "Down by the Seaside." If you think about it, you couldn't have substituted anything off the fourth album with any of those tracks, quite rightly so. Each of them had their own individual charm and character.
So with those, plus the fact that "Houses of the Holy" was a track that wasn't included on the album Houses of the Holy, that was four things straight away [to include]. And, you know, given the chance of having a good run at this writing and recording process, I didn't want it to be a double-album with any padding on it. It would be a double-album with all character pieces, the way that Led Zeppelin did their music with the sort of ethos of it, if you like, that everything sounded different to everything else.
The country music station plays soft, but there's nothing, really nothing to turn off...
Bob Dylan closed out his 1960's discography with a set of tunes that confounded even his staunchest supporters. Important to note that this LP did very well commercially, hitting #3 in the US and topping the charts in the UK. The voice that emanated from the speaker grills was not a familiar one, however. His abrasive, nasal vocal whine had vanished, replaced by a smoother approach to singing. Also conspicuously absent were the lengthy verses that had once stretched the limits of expression. While his foray into rustic, country-fried love songs was greeted warmly, many thought that Bob was royally pulling their leg. Surely there HAD to be an eight minute long, backward message from the bard tucked away in the run out grooves of this laid back LP?
In the game of chess, it is advisable to:
1. Open with a center pawn.
2. Develop with threats.
3. Knights before Bishops.
4. Don't move the same piece twice.
5. Make as few pawn moves as possible in the opening.
Nashville Skyline took inspiration from the fourth item on this list.
Long exasperated by the labels that critics, contemporaries and fans tried to apply to his music, he purposely veered sharply away from the expectation that he should be landing in a silver spacecraft to deliver an important message through his latest record. Dylan's stylistic shift should not have been that jarring to those who were actually paying attention. The closer on his previous set, "I'll Be Your Baby Tonight", was a straight-up, dirt under the fingernails tune augmented by the sweet pedal steel of Pete Drake. Drake would factor heavily in the mix of Nashville Skyline, along with Kenny Buttrey who also had graced the skins on Blonde on Blonde and John Wesley Harding. Charlie Daniels also appears on a few cuts. Adopting the soundscape of Music City, his writing reflected the simple grooves that were a huge part of what he had heard on the radio as a kid. For the uninitiated, the commitment to this concept is unwavering from the "Howdy, neighbor!" cover art right on through to the homespun charm of "Tonight, I'll Be Staying Here With You".
Is it rolling, Bob?
With Johnny Cash guesting ("Girl From the North Country") and "Lay Lady Lay" hitting big as a single, there is lots to like here. It was his most polished recording of the decade in terms of production values, though he never did anything quite like this again.
Joni Mitchell made bold strides away from her singer-songwriter-folkie persona in the mid seventies, taking a decision to explore the outer limits of her creativity which would ultimately exceed the expectations of even her most besotted worshippers.
Down the line, this transformation would also pose problems for short-sighted marketing drones trying to shovel out the usual shit-disguised-as-ice cream to the masses. Those who were prepared to classify or label this one were perplexed. Great painters utilize as many colors as their pallet can handle. Understanding this well, Mitchell made a detour into jazzier stylings, augmenting her songs by calling in some of the hottest session players in the business. Intent on avoiding a misstep into bland, cocktail lounge territory, her inspired leap would not sacrifice the edge that she had sharpened to a fine point as a wordsmith. Combining poetic sensibility with newfound instrumental textures gave her a much larger canvas to work with.
Artistic maturation also brought about a rethink in Joni's approach to singing. In short, her delivery was altered to suit the idiom of cool jazz that now colored the tracks. Note that the gentleman making love to the upright in the following clip is legendary bassist Max Bennett, who would figure prominently in her recording/touring cycle in this period.
Always inventive with modal tunings, her original sense of melodic design has often fooled listeners (and fellow musicians) who have sought out the root notes, finding them replaced by an ever shifting musical bedrock. This is just one of the attributes that has kept people crawling back, repeatedly, to immerse themselves in her genius. Each trip through her carefully constructed records leaves no choice but to return again, in the eternal hope of discovering how this canny magician manages to successfully suspend disbelief.
What she has to offer is something far more subtle than the typical street corner hustler's brand of three card monte.
Gently pushing forward, the transition point started with For the Roses. Brilliantly understated, it paved the way for the more grandiose makeover that produced the commercial smash of Court and Spark. The ensuing tour matched her with Tom Scott and the LA Express, bringing all of the pieces into place on stage. Miles of Aisles gave listeners a recorded souvenir of these shows.
Most artists close the loop on a particular period of activity with a live album, which can function as both a summation of what has come before and as a means of satiating their fan base while they re-evaluate their approach to their craft.
The Hissing of Summer Lawns would be a masterstroke.
Employing, for the most part, the same cast of phenomenal musicians who had supported her on the aforementioned Court and Spark, Mitchell's vision for the new material was decidedly much more "free form" in terms of what she had to say. Sheer inscrutability is the one constant of the lyrical subject matter.
Not for the last time, she would be moving much faster than her contemporaries.
This has often been called a "difficult record", though if it is, I don't hear it. Reading certain reviews would almost lead you to believe that this was her version of Metal Machine Music. Don't buy into that.
Sonically, there are instances where she veers away from conventional pop structures ("The Jungle Line" "Shadows and Light") though the surprises primarily turn up in the unfathomable verses. Things start out in relatively familiar territory, with the smooth strains of "In France They Kiss on main Street". In fact, it's pretty much like Old Home Week with pals David Crosby, Graham Nash and James Taylor lending strong harmonies to a track that would have fit in perfectly on Court and Spark.
We'd all go lookin' for a party, lookin' to raise Jesus up from the dead
Listeners expecting another soft landing pad get a jarring wake up with the insistent, pounding rhythms of the Royal Drummers of Burundi. Acoustic guitar, austere Moog synth interjections and a detached vocal float over the mass of percussionists.
Rousseau walks on trumpet paths
Safaris to the heart of all that jazz
Through I bars and girders-through wires and pipes
The mathematic circuits of the modern nights
Through huts, through Harlem, through jails and gospel pews
Through the class on Park and the trash on Vine
Through Europe and the deep deep heart of Dixie blue
Through savage progress cuts the jungle line
Light years away from anything she had committed to tape thus far, you can imagine the subversive pleasure that she must have derived in throwing this musical change-up so quickly into the set. Work of this calibre is a shining example of why so many writers are driving comfortably down roads that she has broken her back to pave.
Perfectly balanced, each of the five songs on this immaculate "Side One" will drag you back for repeated listens. "Don't Interrupt the Sorrow" offers up a patented CGDGBD tuning, searing verses and subtle backing from the players who cradle the tune as if they are at risk of losing it. Definite highlight.
Wrapped in the sweet groove of the LA Express rhythm section for much of this disc, Joni is free to do many aerial somersaults, safe in the knowledge that Max Bennett and John Guerin are there to catch her. Guerin even scores a co-writing credit on the title cut, which involves a sketch of a man who scores a trophy wife and then proceeds to treat her as if she was one of his many acquisitions.
He put up a barbed wire fence
To keep out the unknown
And on every metal thorn
Just a little blood of his own
Treated like a domestic pet, running along the perimeter of a fence with "a diamond for her throat", her incarceration is painted as being one that she has chosen. Mitchell looks, with some distaste, upon the affluent, cookie-cutter style neighborhoods, with the manicured lawn of each home featuring the suburban system of irrigation. The bitter medicine of this subtle commentary on patriarchal materialism is sweetened by laid back electric piano.
Every note of this record hits the mark, with the second side filled with as many engaging melodies, though much more low key. "Sweet Bird" is reminiscent of "Other People's Parties" musically, though the words remain purposely vague. It is very easy to put this album on and just let it play through.
Her happiest musical moment?
"When I wrote 'Shadows and Light', which came out intact, verse by verse by verse with no rewrites; that was a thrill."
Much like the startling innovation of Lennon's "Tomorrow Never Knows" from Revolver nearly a decade before, this stunning track was a departure in form, even when measured against the adventurous compositions that preceded it. It could only be placed at the end of the album, as it would have made anything that came after seem anti-climactic. Mitchell creates her own vocal chorale, using the ARP as her only support.
I leave the interpretation to you.
Fine as it is, "Hissing" occupies a spot in the back gallery of forgotten music.
Having spent a lot of quality listening time with tis disc, I rank it higher than both Blue and Court and Spark (which were both worthy efforts). All of Joni Mitchell's ambitions coalesce as she closes the door on semi-confessional song writing and begins to explore a different type of expression. The joy here is in the veiled word play and her clever way of leaving things unresolved. Some do not appreciate it, though the best art is that which makes your brain work, compelling you to revisit its complexities. Where would we be if everything was completely laid out on flash cards and wrapped up neatly with nary a loose end to be found?
Trends exist first in the minds of marketing geniuses, require repetition to achieve some traction with consumers and become redolent of their time period. Patience is required to produce work that has both artistic merit and durability. Whether you are a casual listener or completely immersed in music, you should be aware of the difference between fine wine and grape juice. The true test of any art lies in its shelf life. What brings you back to a really good album? It may be subjective, though a modicum of thought, soul, inspiration and craft always win the day.
Joseph Bridge has made that record
One of the best sets released by any artist in a very long time, it is brimming with invention, impeccable playing, solid writing and incredible melodies. Contemporary musicians will file it under "I wish I had thought of that", while most will be swept up in a song cycle that is dazzling from start to finish.
While there are certain influences present here they are nicely bevelled by muscular playing, razor sharp arrangements and the quirky cast of characters that are presented throughout: Mr. Waterpump, Phyllis the Parking Meter Lady, Ricky the Mouse, Gregory Hawson and Marvin Penn. Marvin encounters all of these personalities, his presence integral to the underlying thread that runs through the disc. While the storyline is only suggested, Marvin spends his time in the thrall of a voice that had reached out to him long ago, stating simply: "I'm trying to find you."
Opening strong, the austere instrumentation of the extremely catchy "Mr. Waterpump" is a perfect backdrop to follow its subject on a sunny stroll through his day. Once lodged in the brain, this is an ideal launching pad to prepare for the onslaught of energy that follows. "Worlds Away" begins with scattershot wordplay, a lone acoustic guitar and quickly explodes into a punchy chorus with precision drumming and a whistled outro that will be instantly recognizable as an inside joke to those familiar with "Two of Us".
When presented with an array of equally powerful tunes, it's tough to pick a highlight. "Phyllis the Parking Meter Lady" is an obvious single, possessing all of the hallmarks of the perfect pop song. Staccato guitar and drum figures push the track, while soaring vocals ice the cake. The refrain is accentuated by decorative trumpet, which is easily assimilated and reinforces a clever hook. This is an absolutely jaw-dropping creation, which speaks volumes as it sits amongst a very stellar group of them.
One of the overall triumphs is the joy that infuses all and sundry. It seems that everyone who participated in these sessions had a blast, playing their parts with an exuberance that radiates from the finished product. Infectious in all respects, that translates to a very upbeat listening experience. Full marks go to Joseph Bridge for the lyrical subject matter. Avoiding pretension, whiny introspection, preachiness or current political issues, he creates a wonderful escape into a realm where the subjects all have great, open ended backstories. Your interpretation of them is what matters and will ensure repeated listens.
Stnadout tracks that will vie for serious radio play are "Ricky the Mouse" and "Gregory Hawson". For those who appreciate the deep cuts on classic discs, the atmosphere created in "Warning" convincingly conjures a mood of impending threat, though it's subtle. The monster lurking in the "back nine" here is the towering "Triangle Clouds" which has a turn around sequence that modern rock bands would sacrifice a limb for, with fret-melting soloing that perfectly complements the melodic heaviness of the piece. The lone cover is Syd Barrett's "Opel" which provides an air of majesty and unfinished business (the voice that reaches out to Marvin Penn). It is rendered beautifully with some tasteful assistance from Keith Scott.
This is work that anyone would be more than proud to sign their name to.
You have my estimation, though I highly recommend to anyone who is reading this to listen for yourself. You may check out and purchase the Joseph Bridge CD on iTunes
Recording software has made an enormous impact on contemporary music production. Through the manipulation of noises as expressed in ones and zeroes, there is much opportunity to "fix" performance. The result? Homogenous product, with voices and instrumental touches virtually indistinguishable from one another. In many instances, this intervention is absolutely necessary as the "talent" just isn't there. Instead of using available technical resources to enhance the material, laptop engineers now sublimate it.
Would you smother a gourmet meal in ketchup?
Growing dissatisfied with such trends, many artists are approaching the recording process from another angle. The warmth of analog is felt in every note in the new EP from DRLNG. Committing all four songs on Icarus to tape, a lush soundscape is created that is dependant upon precision playing, strong melody and the dulcet tones of lead singer Eliza Brown. The quartet is rounded out by Martin Newman (guitars), James Newman(bass) and Mickey Vershbow (drums). The material is thoughtful and well crafted, with the highlight (for me) being the title track.
Full marks go to all involved here, especially in terms of how they have carefully chosen to put the songs first and not succumb to layering and tracking to the point where the music loses all personality. The band have issued Icarus as a limited edition vinyl release (300 copies pressed) in addition to downloadable format. In truth, this recording is tailor made for your turntable, as it would best allow listeners to appreciate how these arrangements breathe outside of the confines of digital mastering.
I look forward to hearing a full length release from DRLNG, though in the meantime you can purchase the Icaras EP right here. Be sure to add this to your collection.
Find out more about DRLNG and like them on Facebook
True talent isn't always recognized by the masses. Ingenuity shouldn't toil in the long shadow of mediocrity, though this is reality for those who cut an individual path. With that in mind, the spotlight searches out (and locates) Mr. Brian Hines, who is better known by his adopted stage name, Denny Laine.
As a founding member of the Moody Blues, he first came to prominence singing lead on a tune that was previously recorded by Bessie Banks called "Go Now". He left the group in 1966. Most rock fans saw this multi-talented soul return to the spotlight when Paul McCartney asked him to join Wings in 1971, where he would remain until their dissolution in 1981.
While his term with Wings was indeed high profile, the material that he had recorded in the interregnum between leaving the Moodies and accepting McCartney's offer has largely gone unnoticed.
THE MISSING YEARS...
Laine formed the Electric String Band in late 1966, which included Trevor Burton (formerly of The Move) and drummer Viv Prince. Four classical players, Wilhelm Martin (violin), John Stein (violin), Clive Gillinson (cello) and Chris Van Campen (cello), were recruited to achieve his vision. Utilizing strings to play live, he also forged a sound that would be picked up in earnest by ELO when they formed out of the remnants of The Move in the early seventies. Though mainstream success eluded them in their short time as a functioning unit, they did manage to commit material to tape that was released in the form of two singles.
"Say You Don't Mind" was the first and it is extremely fine. Denny performed the song on early Wings tours, though you can hear the original 45 right here. As a record, it is definitely bathed in the psychedelic production values of 1967, though the tune is pretty strong. Laine's vocal is immaculate and the chord progression has some very intricate twists. John Paul Jones handled the string arrangement.
"Too Much in Love" was the second try, appearing in early 1968.
Curiously, there is more locked in the vaults from this timeframe. Produced by Denny Cordell, "Why Did You Come" was slated to be the third single but never saw the light of day. Thanks to their appearance on John Peel's radio program in October of '67, you can now have a listen. Similarly, another lost composition ("Guilty Mind") is presented from the same show. For those who are not acquainted with this phase in Laine's career, it would be a revelation to see these tracks re-mastered and brought into the 21st century marketplace. Better still if there were more quality gems from these sessions in the can, waiting to be dusted off and properly issued.
Opportunities missed, Electric String Band had a series of lineup changes before passing into the mists of time, with Laine disbanding them for good in February 1968.
While he is still plying his trade, recording and gigging, it is a shame that many more listeners haven't been exposed to his music. Deservedly, he should be recognized for his pioneering work from the late sixties.
Definitely brings back many hazy memories of high school. Occasionally, side one of this disc would be in rotation in my "soundtrack to pass out for the night routine". Worked like magic, too. "The Last Rose of Summer" provides a lush, soft landing pad for that gelatinous mass of chemicals and electric impulses, settled into a groove on the pillow as it ends your programming day.
It's a phenomenal song, with a touch of Hendrix and the peerless vocals of Rob Halford. Unfairly, it has often been panned as a "Rain Song" rip-off. Have a listen and see why it stands up.
Third album from the "metal gods" and it is a truly fine offering, balanced on the precipice of the sound that they would soon fully embrace and scorch many devoted eardrums with. Roger Glover's production is clean and punchy, playing up the strengths of all involved, with an attack that's fairly advanced for 1977. The group did have "exploding drummer syndrome" so the drum stool was filled here by nineteen year old Simon Phillips, who would go on to become a top class session man. His credits are astounding as is his work on this set.
Honed to perfection, the twin guitar mathematics of Glenn Tipton and K.K. Downing raise the game on a strong set of songs. "Sinner" and "Dissident Aggressor" are standouts, though, as with the bulk of their material, they rarely forgot to employ melodies with the mayhem. Those that have written them off really need to take another listen. Halford should get far more credit than he has, as he is a fantastic singer.
"Starbreaker" from Tokyo in 1978. Les Binks on drums. He was an excellent musician and writer but quit after only two years with the group. He didn't explode, though he takes a nice solo here.
What should have been the closing track? Their ingenious reworking of Joan Baez's "Diamonds and Rust". Worth mentioning that this song, inspired by Bob Dylan, is covered so well by a band that was named for one of his songs ("The Ballad of Frankie Lee and Judas Priest")
Priest would soon undergo a wardrobe change and enter the 80's as a much heavier entity. "Sin After Sin" is an excellent piece of plastic and ranks with the best of their seventies releases.
Produced over months of arduous sessions, the $100,000 wet dream that became The Soft Parade was universally panned when it first appeared in 1969. Don't believe for a second that this is simply The Doors buried in "101 strings", though. Jim Morrison would slip into the vocal mannerisms of Frank Sinatra (in places), adding a crooner's voice to their most adventurous music to date. Imagine these tunes drifting from the radio of a '63 Pontiac Laurentian. Don't feel too bad about passing over this disc, as you had probably heeded the warnings of those critics and fans who just didn't care for the contents.
This is actually a very solid record.
Please, please listen to me children
Morrison's contribution is slight on this outing. Waning interest in the group dynamic, Herculean consumption of alcohol and various film projects claimed more of his calendar time than did the business of writing songs. When he did engage, some memorable imagery emerged ("Wild Child", "The Soft Parade"). Robbie Krieger stepped up to fill the compositional gap, though his lyrics were more conventional. Listeners who had become accustomed to the inventive wordplay that had heretofore graced their LPs noticed the variance, contributing to the split personality that presents itself here. You can easily pick out the Krieger penned material as all are augmented by strings or brass. Densmore and Manzarek were intent on bringing jazzier touches to the table, encouraging the experiments with an expansion of their soundscape. "Tell All the People" is heralded by epic fanfare. Reportedly, Jim took issue with the "Can't you see me growing/Get your guns" line, refusing at first to sing it. Sounding nothing like what had come before, this smart opener must have been quite a shock to those who were conversant with the first three albums. They offer a stripped down version here, filmed for "PBS Critique".
The main engine of the band is never sublimated by the layers, with "Touch Me" being the most successful integration of the two worlds. Curtis Amy's Coltrane-dipped sax freakout is stunning, powered by the core instrumentalists pushing the intensity well to the limit. "Shaman's Blues" and "Wild Child" are classic Doors, while "Easy Ride" is fun and slightly reminiscent of Elvis' Sun period.
Not enough mention is made of the tasteful instrumental contributions made by Manzarek, Krieger and Densmore. They sounded like no one else of that time period, with no nods to British psychedelia or the West Coast bands that had a decidedly multi-colored vibe. Darker themes were often explored without hesitation, which would long keep their music in the purview of subsequent generations.
Stylistically diverse, this collection probably threw off listeners looking for some revelation or profundity that Morrison must have hidden within the grooves somewhere.
YOU CANNOT PETITION THE LORD WITH PRAYER!!!!
Though you can return to this thoroughly enjoyable set regularly. Clocking in at just over 30 minutes, it never wears out its welcome. Watch a live performance of the title song on PBS
Seano over at Circle of Fits always turns out thought provoking, incredibly well written posts. This one is no exception. For all of you who have collected, worshipped and spun the black circle. Read and enjoy
